+Freedom
August 24, 2001
Dear Artist;
On Tuesday Fred phoned from the art school. "I graduated," he said, "I
want to get an idea where you think I might be going." Then last night he brought
some of his paintings to my studio. He gave me an enthusiastic preamble about his growth
in the last four years. Then he pulled his works from their wrappings. One by one we put
them under the light. They varied in practically all ways: size, medium, style, approach,
philosophy. From Van Gogh to Pollock, with some Rembrandtesque engravings thrown in.
"I guess I’m lost," he said. I suggested that the job of art school is to
introduce freedom and show the range of possibilities. "There’s promise
everywhere in these," I assured him. I’ve known Fred since he was a kid.
He’s talented and he’s moody. I couldn’t help thinking of Franz Kafka:
"You are free and that is why you are lost."
Over a few single-malts Fred and I tried to figure where he might be going. We talked
of artistic freedom, the artist’s life, being happy, being alone, making a
contribution, making a living. There was a lot to cover.
Apart from the basic question which all creative people must ask themselves--"What
do I want to do with my art?"--there’s the need for limitation. We talked a lot
about limitation. Somewhere along the line an artist needs to teach himself to set up
parameters. These projects need not be forever. They can be by subject--teapots,
cucumbers, marsupials. They can also be by medium, support, size, concept, idea. They can
be pretty specific: "Ruined Cathar castles in acrylic on 8"x10" mahogany
panels." "Visionary childhood fiction using mainly nouns in 1000 words."
"The full potential of dribbling." Then I mentioned that in a pinch a project
might be suggested by someone else: "Fill up the ceiling of the Sistine Chapel."
"That’s what I need," he said.
Best regards,
Robert
PS: "Art lives from constraints and dies from freedom." (Leonardo Da Vinci)
Esoterica: Professionals achieve passion by squaring off the rules. "The greatest
enemy of art is the absence of limitation." (Orson Welles) "To enjoy freedom we
have to control ourselves." (Virginia Woolf)
The following are selected responses to the above letter. Thanks for writing rgenn@saraphina.com
+Several artists inside
Does the line "don't lock yourself into anything" apply even to style? Is it
wrong for an artist who has set himself or herself the task of painting in a
impressionistic to realistic manner to one day jump for a sheet of paper and do total
abstract? If we don't try a little of every style how can we be sure the way we are
painting and have been for a time is the only one for us? Can we be greedy and paint in
two styles that are at opposite ends? I believe in working an idea to completion and that
sometimes mean in a certain style. Several canvas along one theme. But that seems to work
for a time then the urge rises to do a complete U turn and down a different avenue. Is it
possible to have one artist at the canvas but several artists inside? Which day each one
surfaces can sometimes be a mystery. Holding one back while the other leads can be
difficult. Can the freedom of abstract and looseness not carry benefits over and back to
the impressionistic and realistic works? Freedom to pick a color completely off the side
of the wheel we would normally pick, or the swish of a stroke that would normally be
perfect.
L. Irwin, Mission, BC, Canada, firstclassele@telus.net
(RG note) Asking the right questions goes a long way toward
glimpsing the right answers. You are asking the right questions. In the land of style
nothing need be forever—The idea is to find a balance between self-indulgence in
variety and the consistency that leads to pride and success. You’re not alone. See
letter below.
+Bonds of freedom
Freedom is a most difficult issue. Since we are very honest in these
letters, I confess that I struggle with the bonds of freedom. Jack White, one of your
regular contributors, also stresses early on in his book, "The Mystery of Making
It," the issue of "voice" and one's work being recognizable in a group. I
do recognize the value of this but as Monique Duguay so eloquently stated in the
clickbacks to "Don't," "I experience a sense of connection with the
universe, and my soul has wings when I paint." Jack says that even this cannot and
must not stop us from sticking to a recognizable style. So, how do I do what lets my soul
sing, yet be recognizable in a crowd? Can I or should I categorize my work,
such as "digital astronomical art" or "pencil works?" Is that a
solution? What have successful artists done about this? (Both styles of which, for
me, have recently made it into juried shows and both styles so very different!) I would
like to hear either from readers or perhaps have another Genn letter that further explores
the issues and solutions to the bonds of freedom.
Julie Rodriguez Jones, San Pablo, CA, USA Julie@artfromthesoul.com
(RG note) My reason for categorizing and pre-determining
direction is to better understand self-motivated limitations and the parameters of your
current muse. "Name it and claim it."
+When genius rears her head
In my years of painting there have been many bouts of uncertainty
and confusion and questioning my own ability and art direction. The balance for me is the
equally rewarding breakthrough. When you are sitting in your studio alone and somewhat
tickled pink with yourself and your painting. And for the moment when sheer genius rears
its head. At that moment you appreciate being alone for the excitement, praise and
understanding of the journey and that the struggle is appeased by you and only you.
Jennifer Garrant, jennifergarrant@artlover.com
+Just do it
I have waffled for quite some time on the subject of what to do with
me and this stuff I call art. Big decisions. Lots of questions. None of which, have a
clear and precise answer. I do know that in order for me to feel like I have a direction
or a purpose, I must stay within certain boundaries. Don't misunderstand, these are
self-imposed and what others think or feel really doesn't play a large part in it. We have
to search ourselves out and know that consistency in our direction is vital. That is not
to say that you can't change direction, but to do so you need to delve into the change
long enough to look like yourself. I have found that the best solution for me in art and
in my life in general, is that old Nike slogan "Just Do It". Again and again and
again. We are free to try and do anything we choose in this art world, but to spread out
and do it all, which by the way is what we would love to do tends to confine and confuse.
Just listen to yourself and just do it. That is what is important.
Sherry Purvis, Kennesaw, Georgia, USA dpurvis1@bellsouth.net
+Look for function
In earlier times art served mostly as decor, ornamentation and symbol for the institutions
or some other power constellations; in short, art was not free, it was a servant. Even to
enjoy paintings was at the end directed to a purpose, a means to an end. Even the inventor
of a free lance art, the Venetian painter, Giorgio Caselfranco, called Giorgione (1480 -
1510), who painted, because he wanted to paint pictures, was not entirely free. He did not
know about painting "only like that". Rembrandt studied himself in about 60
self-portraits. His purpose was to see his being; he did not paint without purpose. The
real "only like that" painter is engaged or is committed to the function and the
same time to the "in between", in the possession with the "in between"
the artist in painting himself "as someone". This means he is interested in the
role or in the function he is playing in the society. He shows himself on the paper or
canvas as an example or as a parable. The "only like that" painter is looking at
a boat in the harbor, for instance, not to be interested by the water or the boat, but for
the function. He looks for the floating, that means for the lasting of the boat on water
and the carrying of the boat by the water.
Albert C. Reck, Ngwenya, Swaziland, endlotane@realnet.co.sz
+Harness yourself
Too much freedom is hard to control. I am director of an artist owned and operated gallery
in Portland, Oregon. We are just down the street from Pacific Northwest College of Art. We
get a lot of students in looking at the work and studying it as if their lives depended on
knowing how it is done and why. In every case when I talk to them they want advice on this
very thing. They do not realize that this is what they want but as we talk I can see it is
exactly what they need. So I advise them to pick any subject, say, "fish" and
only work on this imagery for a few months. I explain that this will solve the "what
am I going to put on this blank paper" problem and because of this limit they will be
free to work on their technique and develop their ability to take a subject and develop it
over time. This is the way to make a body of work that holds together and eventually will
show well. It will also impress their instructors, this dedication to "fish".
Then after fish is worked to death, pick a new subject and start over. So basically simple
and so hard to do, we are all suckers for leaping from idea to idea. Creative people have
to harness themselves. When we jury work in the gallery we always look for consistent
work. We appreciate that an artist may be capable in 10 areas, but we prefer to see only
one and that one developed well, showing us that they are moving forward with some
internal direction and not jumping all over the place. It will be very hard to exhibit
your work as a new artist if you do not pick a direction. You can always change at some
future date and go 180 degrees away, but go consistently and you will like what you do
better and you will have a body of work to show for it.
Barbara Mason, Portland, Oregon, USA, bemason@concentric.net
+Carl Schaeffer
As the late, great Carl Schaeffer said, "When you find
your motif, stick to it." Otherwise, when you find what you love to paint, stay with
it until you've rung all the changes -- then you'll know where to go next. Re freedom
killing (da Vinci): When a well-known Finnish composer received a grant for life from the
state, he could no longer compose.
Jane Champagne, Southampton, Ontario, Canada janec@bmts.com
+Boundless creation
I found this topic of interest, especially since I was recently
visited by another sculptor who said he wanted to watch while I worked. And then he kindly
suggested that I was limiting myself by trying to create a figure in the stone. He said
that I should just "go with the flow" of the stone itself and try not to be
bound by reality (another topic in itself). "Creativity should know no limits."
I disagreed and suggested that the measure of one's creativity is DEFINED by the
limitations. Perhaps I was just annoyed by someone telling me what I should not sculpt.
However, hoping not to crush his free spirit, I told him we all have limits whether we
chose to see them or not. If nothing else, these include: time, the medium's strengths and
weaknesses, size and space, and our own abilities to create what we envision. I do not see
these as bad things. I see these as challenges for us to overcome in order to express
ourselves. I am impressed when someone shows me what is possible when he is restricted.
Problem-solving and a human spirit at its best. What is so awe-inspiring about a
"boundless creation"? (Even God is said to have given himself a deadline.)
Kelly Borsheim, Cedar Creek, Texas, USA kelly@borsheimarts.com
+Rules
The Freedom letter reminded me of talking to a young artist years
ago. I asked him what rules does he set up for himself when he begins a painting. He said
he set no rules. I told him I always set some rules for myself before I begin a project.
Then it becomes like a game, to see if I can stay within the rules. Sometimes the rules
are, I'll only use white, burnt umber, and blue. Sometimes it's that the entire painting
series will be pointillism....with hidden Morse code. Sometimes it's to see how many
layers of paint and glaze I can put on and still see the bottom. The good part is that
they're my rules, and I can change them.
Bonnie Lavish lavish@dmv.com
+Mixed role models
Over the weekend, I had the opportunity to visit Oldenburg
and Jade, tiny towns in southwest Germany. I met Petra, a woman who is living what I would
call an adventurous dreamy courageous life. She has raised a son alone, paints landscapes,
trains horses, camps alone, lives in a farm with her boyfriend and his hundreds of
pigeons. Over time, she has managed to still retain her cheerfulness, warmth, sense of
adventure, dreams and some of her ideals. She's close to retiring but one can feel the
child very much alive within her. I have lived in the city most of my life. College
graduation is this December and then I am probably going to do some administrative and
management work in some company. The longer I work, the more calculating and practical I
grow. But I dream of looking into the eyes of Mona Lisa someday. I dream of painting my
heart out when I go to Rome and falling in love over and over with the ancient buildings.
I may lament and even shed some tears. Well, that is my sentimental side. I compared Petra
and my mom, who is very much a business woman. Almost similar circumstances, but two have
taken different paths. Neither is wrong or right. Given my ideals and dreams and a little
bit of encouragement, I would venture the path of Petra. But given my circumstances, it
seems I will follow the path of my mother.
Stephanie Theng, Berlin, Germany, x98theng@yahoo.com
+Quality materials
I especially agree on using the best materials that you can. Cheap stuff just doesn’t
work the same. If you are going to sell, you owe it to the buyer to use lasting
materials--the work shouldn't fade due to cheap paints (or fugitive inks) and the paper
should be acid-free. We also need to educate the buying public by making it
clear--"Permanent pigments on acid-free paper, with acid-free matting."
Loraine Wellman, lwellman@paralynx.com
(RG note) Artists’ colors are often marked and categorized
by the makers as "permanent," "permanent at full strength,"
"semi-permanent," and "fugitive." While fugitive colors are sometimes
appealing to use they do not last as well as permanent colors. Some pigments such as
Bitumen and Mummy have other unpleasant characteristics and have been retired from the
lists of colormen. Modern synthetic colors replace many outdated pigments. Surprisingly,
some popular modern glazing colors such as Pthalo Blue and Quinacridone Gold are fugitive
in some compositions. As I mentioned in the previous clickback, illustrator’s inks
such as Dr P H Martin’s Dyes (Aniline) are to be avoided for serious artists who
would like to see their work around for a while. The most comprehensive current listing of
fugitives that I know of is in "Artists’ Materials," by Ian
Hebblewhite.
þ
Please feel free to comment on anyone’s remarks. If you include
your email address right after your name at the end of the letter, we will include it. If
you wish to write incognito we will honor that too. All unused letters are carefully
archived for possible future use. We generally include ten or so letters in each
"clickback" so you can expect about the same amount of reading. Readers really
appreciate it when you tell us approximately where you are located. We edit most letters
for clarity and brevity. We are able to translate letters from most languages. rgenn@saraphina.com
Selected responses to the previous letter "Don’t" are at http://www.painterskeys.com/clickbacks/dont.htm
If you think a friend or fellow artist may find value in any of this material please
feel free to copy. This does not mean that they will automatically be subscribed to the
twice-weekly letter. They have to do that voluntarily at subscribe@saraphina.com or at the official
subscribing place: http://www.painterskeys.com/robert_genn_creative_inspirational_weekly_letter.htm
If you have someone you would like to personally sponsor as a subscriber you might want to
send their names and email addresses directly to me at rgenn@saraphina.com Any ideas or recommendations as
to how we can improve the delivery of these letters are also appreciated.
|